Anamorphic lens with continuously variable compression ratio — usually 1.3x to 2x. Shift between Cinemascope and modern ratios mid-production without changing glass.
Variable Anamorphics — or Variofilme in German — are the Swiss Army knives of anamorphic lenses. You're on set, the first scene calls for a classic Cinemascope look with 2x compression, the next needs to feel more subtle, almost spherical — and you don't have to swap out half your gear. You simply turn a ring on the lens and continuously adjust the compression ratio. The entire flexibility lies between 1.3x and 2x, sometimes even 1.5x to 2.4x depending on the manufacturer.
The core problem Variable Anamorphics solve: Classic anamorphic optics give you a fixed aspect ratio. 2x anamorphics provide the full Cinemascope aesthetic with horizontal lens flares, extreme bokeh, and that characteristic horizontal squeeze. But modern productions often want to work less aggressively — 1.5x offers elegance without theatricality. With a Variable Anamorphic, you set this during lighting, test on the monitor, and adjust accordingly — no assistants lugging cases, no time lost swapping lenses.
In practice: The mechanics are usually located in the middle section of the lens — a finely geared compression lever or ring that you operate without moving the front element. Your focus puller will appreciate this. Some newer models even allow remote adjustment via motors, which becomes valuable for motion control or complex camera moves. The optical quality remains stable across the entire range — the better manufacturers like Cooke Anamorphic or certain Zeiss variants keep sharpness, color fidelity, and aberrations in check.
A caveat: Variable Anamorphics are heavier and mechanically more complex than their fixed counterparts. Your camera support needs to keep up. And the front element is often larger — matte box adapters must fit. Some DoPs prefer two specialized anamorphics because they are purer; others swear by the pragmatic flexibility of Variable Anamorphics. On set, you decide based on shooting pace, budget, and how much you trust post-production flexibility. For fast-paced shoots where formats change or you're unsure which compression will look right on set — the Variable Anamorphic is your friend.